游走在鬼怪彰显与情感填充之间——由聊斋小说《聂小倩》到电影《聊斋之极道天师》改编现象论析  

Migration Between Showing Ghosts and Emotional Filling——On Adaption of Phenomenon from The Novel Nie Xiaoqian to the Film Heaven Master of Liao Zhai

作　　者：赵庆超[1] Zhao Qing-chao(Institute of Literature,Jinggangshan University,Ji,an 343009,China)

机构地区：[1]井冈山大学人文学院,江西吉安343009

出　　处：《蒲松龄研究》2021年第2期116-128,共13页Study on Pu Songling

基　　金：江西省文化艺术基金项目“新世纪中国电影改编研究”(2019049WX02C)。

摘　　要：阴森绮丽的鬼怪符号及其灵动多变的情感世界是《聊斋志异》的两大艺术表现亮点,小说《聂小倩》从彰显“陌生化”与重建“生活化”的审美维度上融传奇与写实于一体,在现世凡人与鬼怪异类的跨界交往中隐喻世道人心。小成本改编电影《聊斋之极道天师》在“陌生化”与“生活化”之间两极投机,却又做得畏首畏尾,既想要故事喜剧化,也想要情节魔幻化,还想要恋情浪漫化,展现出后现代式的商业包装与社会主流价值观两相合谋的运转趋势。聊斋题材电影不仅要注重视觉表层的震撼力和吸引力,与时俱进地追踪和反映时代观念和现实问题,也要寻绎民族传统的文化神韵和历史精髓,含蓄蕴藉地传递深刻独特的国家观念与民族意识,为文化审美查漏补缺。The gloomy and beautiful ghost symbols and their flexible emotional world are the two highlights of the artistic expression of strange Tales of Liao Zhai.The novel,Nie Xiaoqian combines legend and realism from aesthetic dimension of“defamiliarization”and“reconstruction”of life,which reflects the world and people’s world in the transboundary communication between mortals and ghosts.The film Heaven Master of Liao Zhai,which is adapted at a small cost,speculates between“defamiliarization”and“living”,but it is timid.It not only wants the story comedy,but also wants the plot to be magical,and romanticize the relationship.At the same time,it shows the trend of collusion between post-modern commercial packaging and social mainstream values.Liao Zhai theme films should not only pay attention to the shock and attraction of the visual surface,keep pace with the times and practical problems,but also seek the cultural charm and historical essence of the national tradition,implicitly convey the profound concept and consciousness and full in the gaps for the cultural aesthetics.

关 键 词：电影改编 聂小倩 聊斋之极道天师 鬼怪彰显 情感填充 

分 类 号：I207.41[文学—中国文学]